Norwegian house trio The Bausa interview discusses breakout single Magnetic, their self-coined Scandi House sound, and what’s next for the Baerum-based three-piece.”

If you haven’t heard “Magnetic” on the radio yet, you will soon. The Bausa, a three-piece house act from Baerum, Norway, are making serious waves across Europe, and after a conversation with Fredrik, Edward, and Filip, it’s clear this is just the beginning. In The Bausa Interview, we’ll explore what sets this group apart and where they’re heading next.

The trio’s origin story is one of those happy accidents that makes for great mythology. Filip and Fredrik had been making music together for two weeks when Filip brought Edward into the picture at a high school party. “He showed me one of the tracks they made and it was so bad,” Edward laughs. “But he was interested in the whole thing, and none of my friends were making music.” A studio session at Fredrik’s home studio sealed the deal. They made a song in two hours and partied to it for the rest of the night. The Bausa was born.

The name has its own story. A friend suggested “Brødrene Bausa,” telling them it meant “boss” in German. They ran with it. Years later, on a trip to Germany, they found out it doesn’t mean that at all. “It sounds dope, it sounds cool,” Filip says, unbothered. When pressed on the actual meaning, they landed on something like “big” and “ambitious.” Close enough.

250 Tracks a Year and the Bus That Made Them

Before playlists and streaming algorithms, The Bausa were sharpening their craft in one of the most uniquely Norwegian ways imaginable: making music for russ buses. If you’re not Norwegian, this requires some explanation. Russetime is a rite of passage at the end of high school where groups of about 30 students rent or buy a bus, get it painted with their crew name and logo, commission custom songs from producers, and then party inside it every night for 30 days. They go to school during the day. They do this for a month.

One of those bus crews was called Tournée, meaning “tour” in Norwegian. They commissioned a track from The Bausa, and that song ended up becoming one of the group’s early breakthrough moments. At their peak, the trio were producing around 250 custom tracks a year for various russ groups, covering everything from hip-hop to drum and bass. “We got a lot of training from that,” Edward says. “We were mixing and mastering the tracks as well.” It’s an unconventional music school, but the output speaks for itself.

Finding Their Sound

Today The Bausa describe their music as “Scandi House,” a term they coined themselves for a style that blends disco, funk, and house in a way that didn’t fit neatly into any existing genre. Their first English-language EP came together almost by accident. They were working on a Norwegian album in January and couldn’t crack the lyrics for a particular beat, the one that would eventually become “Addicted to Your Love.” An English top line clicked where Norwegian hadn’t, and suddenly they were making an English EP.

“Magnetic,” the lead track, has been getting significant radio play across Europe, including here in the Netherlands. There’s an ease and warmth to it that translates across borders, a summery groove that feels effortless even if the work behind it wasn’t.

What’s Next

The Bausa have a busy summer ahead, with festival appearances lined up across Europe. When asked about a dream destination they haven’t played yet, the answer was India, a market with a passionate and rapidly growing electronic music fanbase that they’re clearly keeping an eye on.

As for Norway’s own scene, they’re optimistic. They see a new generation of house producers and underground DJs building something real in Oslo, and they’re quietly hinting at plans to help shape what that becomes. A house festival of their own? “We have some plans,” is all they’ll say.

In the meantime, follow The Bausa on their socials and streaming platforms. All the links are in the show notes below.

Want to hear the full conversation? Stay tuned for the complete interview, coming soon to the Ten Days in Dance podcast on Spotify.

Zehavi Interview: Aliya, Lior Narkis, And Music Without Borders as he talks Aliya, Mediterranean roots, and culture-crossing electronic music

Zehavi’s music began with the sounds he grew up around, from Arabic, Moroccan, Persian, Greek, and Mediterranean melodies to the bouzouki he first learned through his father. Those early influences now sit inside his electronic productions, giving his work a personal link to tradition without pulling it away from a wider audience. In this interview, Zehavi discusses his collaboration with Lior Narkis on Aliya, the creative control behind the release, and how different languages, instruments, and cultural references can meet inside one record without losing their emotional weight.

Great to have you with us. Before we dive in, can you tell us a bit about the artists, sounds, or moments that originally drew you toward music as a profession?

Modal Nodes Talk ‘Destiny,’ ‘Jawa Dub,’ and Mystery as the bass act discusses Subtronics support, sci-fi influences, and what comes next

Modal Nodes have quickly become one of bass music’s most intriguing emerging projects, pairing a mystery-led identity with a sci-fi visual world and a sound tied to their fictional origin story. Their latest dual release, Destiny and Jawa Dub, gives the project two different entry points, with Destiny connected to their first shows and Jawa Dub rooted in the alien narrative behind Modal Nodes. In this interview, Modal Nodes discuss the concept behind the project, the brutalist architecture that influences their identity, recent support from Subtronics, and what may come next as their presence in bass music continues to grow.

Modal Nodes have quickly become one of the most talked-about emerging names in bass music despite still remaining anonymous. Was the mystery always part of the project from the beginning, or did it evolve naturally alongside the music?

Modal Nodes originally started out as an abstract concept on our home planet. It wasn’t anything serious to begin with, but has since progressed farther than we ever expected.